Duchamp

When is a urinal no longer a urinal? When Marcel Duchamp (1887–1968) declared it to be art. The uproar that greeted the French artist’s Fountain (1917), a porcelain urinal installed in a gallery, sent shock waves through the art world establishment that reverberate right through to today. This essential introduction distills all the daring and the scandal of Duchamp’s practice into one essential overview not only of a pioneering creative but also of a critical moment in Western culture. From his groundbreaking blend of abstraction, Cubism, and Futurism in Nude Descending a Staircase (1912) to his forays into the now-iconic “readymades” such as Bicycle Wheel (1913) and Bottle Rack (1914) we explore how Duchamp consistently challenged the notion of what art is and, in so doing, opened up a world of conceptual possibilities beyond the “retinal” experience.

Changing the course of 20th-century art When is a urinal no longer a urinal? When Marcel Duchamp (1887-1968) declared it to be art. The uproar that greeted the French artist's Fountain (1917), a porcelain urinal installed in a gallery, sent shock waves through the art world establishment that reverberate right through to today. This essential introduction distills all the daring and the scandal of Duchamp's practice into one essential overview not only of a pioneering creative but also of a critical moment in Western culture. From his groundbreaking blend of abstraction, Cubism, and Futurism in Nude Descending a Staircase (1912) to his forays into the now-iconic "readymades" such as Bicycle Wheel (1913) and Bottle Rack (1914) we explore how Duchamp consistently challenged the notion of what art is and, in so doing, opened up a world of conceptual possibilities beyond the "retinal" experience.

Comment Duchamp changea le cours de l’art du XXe siecle Depuis quand un urinoir n’est plus un urinoir? Depuis que Marcel Duchamp (1887–1968) a declare que c’etait de l’art. Le tolle souleve par l’artiste francais et sa Fontaine (1917), un urinoir en porcelaine installe dans une galerie, a provoque des ondes de choc qui se sont propagees dans le monde institutionnel de l’art jusqu’a aujourd’hui. Duchamp a bati son ?uvre sur la remise en cause de la notion d’art et a, en cours de route, ouvert notre esprit a des possibilites alors insoupconnees. Apres avoir indirectement adopte le cubisme au debut de sa carriere, l’artiste s’est fait connaitre avec son Nu descendant un escalier (1912), un melange inedit d’abstraction, de cubisme et de futurisme, ou la controverse est nee du nu que l’on croit reconnaitre a la mecanique decomposee de son mouvement. Au meme moment, Duchamp entame son incursion vers les desormais iconiques «readymades» – des objets choisis apparemment au hasard que Duchamp presente comme des ?uvres d’art – tels que la Roue de bicyclette (1913), le Porte-bouteilles (1914) et une pelle a neige, intitulee En prevision du bras casse (1915). Duchamp a provoque bien des apoplexies parmi les spectateurs respectueux des traditions, en commettant des outrages tels que L.H.O.O.Q. (1919), pour lequel il exposa une mauvaise copie de la Mona Lisa de Leonard de Vinci affublee d’une moustache et d’une barbiche avec, pour faire bonne figure, un jeu de mot trivial que decouvre le public en prononcant une a une les lettres du titre. Cet ouvrage aborde tous les aspects oses et scandaleux de l’art de Duchamp dans un panorama qui reprend l’essentiel de ses ?uvres, et evoque non seulement sa creativite novatrice, mais aussi une periode decisive de l’art occidental. Car c’est a ce moment, parmi les charges repetees contre les grands maitres et la parodie de poesie censee naitre des objets trouves, que l’art a effectue sa premiere transition, des experiences purement «retiniennes» vers une pratique evoluant vers un art conceptuel.

When is a urinal no longer a urinal? When Marcel Duchamp (1887–1968) declared it to be art. The uproar that greeted the French artist’s Fountain (1917), a porcelain urinal installed in a gallery, sent shock waves through the art world establishment that reverberate right through to today.This essential introduction distills all the daring and the scandal of Duchamp’s practice into one essential overview not only of a pioneering creative but also of a critical moment in Western culture. From his groundbreaking blend of abstraction, Cubism, and Futurism in Nude Descending a Staircase (1912) to his forays into the now-iconic “readymades” such as Bicycle Wheel (1913) and Bottle Rack (1914) we explore how Duchamp consistently challenged the notion of what art is and, in so doing, opened up a world of conceptual possibilities beyond the “retinal” experience.

Dali/Duchamp examines in detail the often-overlooked relationship between two of the twentieth century's most famous artists. Though polar opposites at first...

When is a urinal no longer a urinal? When Marcel Duchamp declared it to be art. From his infamous Fountain to reworked Mona Lisa with mustache and beard, this essential introduction to Duchamp surveys his audacious practice of “readymades” and beyond and its critical place in 20th-century art.

Genius. Anti-artist. Charlatan. Impostor! Marcel Duchamp has been called all of these. Almost no other artist of the twentieth century has inspired more passion - or greater controversy. Duchamp challenged the very nature of art, striving to redefine it as conceptual rather than as a 'product'; his influence is felt everywhere in today's art world. Always the provocateur, he never ceased his engagement, openly or secretly, in activities and works that transformed traditional modes of art-making. This revised and expanded edition of Marcel Duchamp remains one of the most original books written on this enigmatic artist. Featuring a new chapter and preface, as well as updates throughout, this is the definitive introduction to Duchamp. Generously illustrated, this volume combines significant research by three expert authors to challenge and reshape history's presumptions, misunderstandings, and misinformation about Marcel Duchamp and his legacy.

After acquiring the Marcel Duchamp collection of Belgian Ronny van de Velde in 1997, the Staatliche Museum Schwerin also set up a Duchamp Research Center in 2009. Besides its own scholarly examination of the collection-which with about ninety works by the artist constitutes the largest Duchamp collection in Germany-the center also provides a platform for Duchamp research in general. An accompanying monograph series, Poeisis, was initiated in 2011. Whereas the first volume was devoted to, among other things, the 2009 symposium "Where Do We Go From Here?" the second volume assembles essays written by the longstanding Duchamp expert Thomas Girst that were first published elsewhere. In addition, interviews by Duchamp's contemporaries on the artist as well as about sixty quotations from famous fellow peers serve to paint a very personal picture of this singular artist.

Marcel Duchamp (1887 - 1968) was, without doubt, one of the most controversial artists of the twentieth century. Associated with cubism, Dada, and Surrealism, his invention of the “readymade” led him to produce some of the most iconic works of his era. While he is often cited as the most influential artist of his generation and is seen by many to be the progenitor of much of the conceptual and postmodern art of today, the writing published to date on Duchamp is often obscure and mired in theory. Extensively illustrated and featuring Duchamps own writings, The Duchamp Book provides a much needed, accessible introduction to the artist. About the Author: Gavin Parkinson is Departmental Lecturer in History of Art at the University of Oxford.

Книга Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp 1957 изготавливается по вашему заказу, печатается на цифровом оборудовании. Особенности изданий и материалы для книг: используется импортная белая офсетная бумага, плотностью 80 гр/м2. экземпляры до 32 страниц скреплены скрепкой. издания больше 32 страниц имеют проклеенный переплёт. Каждый заказ обрабатывается индивидуально: книги снабжаются уникальным номером. Эта книга представляет собой перепечатку подлинного издания, основанную на электронном дубликате высококачественного разрешения, которую обработали вручную от пятен, клякс, перегибов, оставив структуру и орфографию. Книги не пользующиеся известностью, изданные с петровских времен до наших дней, вновь доступны для заказа в виде печатных.